09.12.2010
After a weekend away at my parent’s house celebrating my Dad’s birthday with a lot
of gardening & work around the house… then birthday dinner & cake… and then a
wonderful day pedaling in Wisconsin for the Harmon Hundred… it was back to the
studio tonight to finally unload the kiln now that it is quite cool. And I was quite
pleased with the results – including a new selection of stamped & glazed bowls!
Nice Gary! That reddish color is interesting. I wouldn’t think you could get a high fire red since it burns out so easily in low fire work. I want to see more of the blue pot at the bottom you cropped out.
My fave is the second shelf up right pot and I like to two non stamped ones on the next shelf up…ducking and running. Gary hit me with a stamp before I’m able to exit the blog….
HEY SCOTT – Personally, I’m not a huge fan of the red color as it tends to obliterate the stamping details & patterns. But… it is always a big seller at the art fairs! So I’ll keep making them as long as people keep buying them. As for the “plain” bowls, each of them have a lot of white slip decoration on the interiors. So I keep the bowl shape “plain” so as not to get in the way of the slip-work.
Some of the bowls have a wood-firing/ash glaze effect. How’d you do that?
With a special glaze formulated to look like that. Nice, huh? It gives the “illusion” of a wood-fired piece, yet fired in a regular cone 10 reduction kiln. Sadly, it’s not one of the Lillstreet classroom glazes. It’s one of my studio glazes that I “acquired” when another studio member left Lillstreet. And it is quite runny so I’ve had a few “accidents” where it has run right off the pot and onto the kiln shelf… oops! But when it works, it looks great.